“And that's the last time we will ever speak, probably. 'No problem': the last words I will ever say to somebody I have been reasonably close to before our lives take different directions. Weird, eh? You spend Christmas at somebody's house, you worry about their operations, you give them hugs and kisses and flowers, you see them in their dressing gown...and then, bang, that's it. Gone forever. And sooner or later there will be another mum, another Christmas, more varicose veins.”

“You spend Christmas at somebody's house, you worry about their operations, you give them hugs and kisses and flowers, you see them in their dressing gown...and then bang, that's it. Gone forever. And sooner or later there will be another mum, another Christmas, more varicose veins. They're all the same. Only the addresses, and the colors of the dressing gown, change.”

“You don’t know anything, apart from what you read in the paper.” “You seem to be the only person in the world that the papers get bang to rights. If they say you’ve slept with a fifteen­-year­-old, you have. If they say you’ve fallen over drunk in the street, you have. They don’t need to invent stuff for you.” This was actually quite an acute observation. She was right: not once have I been the victim of misrepresentation or distortion. If you think about it, that was one of the most humiliating aspects of the last few years. The papers have been full of shit about me, and every word of the shit was true.”

“Did I do and say these things? Yes, I did. Are there any mitigating circumstances? Not really, unless any circumstances {in other words, context) can be regarded as mitigating. And before you judge, although you have probably already done so, go away and write down the four worst things you have done to a partner, even if - especially if - your partner doesn't know about them. Don't dress things up, or try to explain them; just write them down, in a list, in the plainest language possible. Finished? Ok, so who's the arsehole now?”

“Will hated Christmas, for the obvious reason: people knocked on his door, singing the song he hated more than any song in the world and expected him to give them money.”

“The Marie bit is easy enough to understand, then. The Laura thing takes a bit more explaining, but what it is, I think, is this: sentimental music has this great way of taking you back somewhere at the same time that it takes you forward, so you feel nostalgic and hopeful all at the same time. Marie’s the hopeful, forward part of it – maybe not her, necessarily, but somebody like her, somebody who can turn things around for me. (Exactly that: I always think that women are going to save me, lead me through to a better life, that they can change and redeem me.) And Laura’s the backward part, the last person I loved, and when I hear those sweet, sticky acoustic guitar chords I reinvent our time together, and, before I know it, we’re in the car trying to sing the harmonies on “Sloop John B” and getting it wrong and laughing. We never did that in real life. We never sang in the car, and we certainly never laughed when we got something wrong. This is why I shouldn’t be listening to pop music at the moment.”

“They're not me, but I wish I was them. Maybe not them, exactly, because they're not so happy either. But I wish I was one of those people, the people who know what to say, the people who can't see the difference. Because it seems to me that you have more chance of being able to live a life you can stand if you're like that.”